In this page you can find the diagrams for all chords in the key of C. You’ll find a piano accordion chord chart, alternative nomenclature, notes, intervals, standard music notation, and left hand fingering for each chord.
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What’s a C+ (augmented) chord? Is it called something else in your charts?
Hi G,
I don’t have augmented chords in my charts, let me explain why:
a C augmented contains the root (C), the major third (E) and an augmented fifth (#G).
On the left side of the accordion, you can’t play this exact chord, you could combine a C (fundamental bass) with an E major (chord) to obtain a Cmaj7#5 which has C, E, #G like the chord you mentioned but it has also a B because E major is E, #G, B.
For this reason, I didn’t include augmented chords in the accordion chords list. I also excluded Maj7#5 chords because they are not very common and frankly they don’t sound great on accordion basses.
Thanks for your response!
Thanks for the explanation! And for all the info on this site in general!
So, what would you play as accompaniment / chord when the melody plays an almost wholetone melody line and the lead sheet suggest “C aug”:
Melody (Chord in leadsheet)
c, d, e, f (Cmaj7)
f#, g#, a#, c’ (Caug)
d’, c’, b, c’ (Dm7)
f’, e’, d’, e’ (Ddim7)
c’ (Cmaj7)
Hi Ralf,
it’s hard to tell what’s the best option without seeing the score but you could just play the bass note (C) with your left hand and harmonize the melody line with your right hand.
When you talk about chords you don’t seem make the distinction between
Playing
“broken chords” on the accordion. ie. Waltz, or 4/4 pattern
& Harmonic Chords (Simultaneous)
This needs to be done.
Thanks for your input! Just to clarify: the content you’re referring to is specifically about the chord diagrams available on the accordion, not about the different rhythmic ways those chords can be used.
What you call broken chords (bass + chord alternation, e.g. in 3/4 or 4/4 patterns) and harmonic chords (bass and chord button played simultaneously) are indeed different accompaniment techniques, but they don’t change the actual chord layout or the structure shown in the diagrams. Explaining those would mean moving into rhythm/tempo and playing style, which is a separate topic from the one covered in those charts.
So the distinction isn’t missing—it’s simply outside the scope of that specific content.
Also Please make a distinction between – why you have not done this is another oversight.
Diminished Chord (Triads) (C,Eb,Gb)
and Fully Diminished Chords (C,Eb,Gb,Bbb)
The articles relatives to diminished chords, actually do make a distinction between diminished triads and fully diminished chords, but it might not have been immediately obvious.
A diminished triad consists of the root, minor 3rd, and diminished 5th (e.g., C–Eb–Gb). On the Stradella bass system of the accordion, you can play this by combining the root with the dim7 button built on its minor 3rd (C + Ebdim7), which produces exactly the triad C–Eb–Gb.
A fully diminished 7th chord, on the other hand, adds the diminished 7th interval (e.g., C–Eb–Gb–Bbb). On the Stradella system, this is accessed directly via the dim7 button on the root, which includes the Bbb (enharmonically equivalent to A) as the 7th.
So while both share the root, minor 3rd, and diminished 5th, the fully diminished chord adds that extra tension note (diminished 7th). The article explains this system and shows how the Stradella layout makes it practical to form either chord—triad or 7th—without changing the basic fingering logic.
In short, the distinction is already covered, but it’s tied specifically to how diminished chords are executed on the accordion rather than just theoretically on paper.